"Sabrina, with Audrey Hepburn. I actually spent my New Year’s this year watching Sabrina, and as it turned midnight I paused it and it was just her face on screen, smiling. I was like, “What a cool way to start the New Year.” She is just someone I’ve always admired. She says so much without saying anything at all. And back then they didn’t do such fast cuts in films; they stayed on a character’s face long enough for them to go from one emotion to another, and for the audience to really feel the emotion with each character — and she in that movie just goes from so many endearing moments to moments of sadness and laughter. It’s just such a classic, and I love black and white. So, that’s my list!"

"The longer I live and the more movies I know, the more I love Stanley Donen. However, I fell in love with this film as a child. I went to see it because—well, because I saw everything that came to the Paramount Theater (or the Capitol) in Ashland, Kentucky. But I was especially primed for loving this movie because I was enamored of Audrey Hepburn as Holly Golightly—I had seen that movie ten times the previous year. But Charade was a very different movie from Breakfast at Tiffany’s, and for a little girl—and for that time—it was very violent, and it scared the hell out of me so much that I thought James Coburn was in my closet at night, and I made my mother go with me to check if he was there before bedtime. Nevertheless, I went back for more every weekend until its run was over. I loved the witty romance between Cary Grant and Audrey, and I loved Paris as much as I had loved New York in Breakfast at Tiffany’s. And the mystery works! And I loved that so much I went back again and again, even if it scared the pee outta me. On the DVD, director Stanley Donen and screenwriter Peter Stone banter amusingly from a long friendship together on the long process it took to make this film. Stone makes the great observation that when you write a mystery, you make it for a second viewing. And if the audience says, “That’s a cheat,” then you didn’t do it right. But if they see it a second time and say, “Oh, it was there all the time, and I didn’t see it,” then you have something. This film has all that and more—i.e., the best clothes ever!"

"One of my great all-time loves in cinema, and I’ve seen it three times, is Bondarchuk’s War and Peace. Not a lot of people may have seen that film. It was made during the Soviet era. I’d be happy to see it again — it is, however, 12 hours long. It took 10 years to make, and some actors lived and died during the period of making the movie. It’s a little bit influenced by being a ’60s film, so it’s got a bit of a trippy edge to it; it’s a little bit abstract. But it has some of the finest examples of Russian acting of that era. I was profoundly affected by the Russian theater and the style of Russian acting. It was shot on cameras and film stock that we simply never have access to. If I’m not mistaken, during the opening credits the camera is in a cosmonaut’s space capsule being shot into Earth. It’s probably the biggest crane shot of all time. At first you think, “Well this is going to be tedious,” but stay with it and I think you’ll find yourself drawn in. And the girl who played Natasha [Lyudmila Savelyeva] is a dead ringer for Audrey Hepburn and she’s one of the most luminous stars that ever found herself on the screen."